| MaryKate & Ashley |
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| written by ClarySage |
January 6, 2006 - 1:40 PM PST |
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2 out of 7 members found this review helpful
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| I was a little confused by the character development here. First we see Charlotte as a shy, lonely person who is metaphorically lost, but in the next scene she seems miraculously to know all of the party animals in Tokyo (she makes introductions), and suddenly the viewer must assume that she has been enjoying a wild night life of which we were unaware. The film degenerates into frolicking scenes a la MaryKate and Ashley with the protagonists having fun fun fun in Tokyo. And this goes on ad nauseum. Another note: This movie is one more in a string of films that depicts middle-aged women as boring, superficial beings who only worry about their furniture, as in "American Beauty" and "The Quiet American" (2002). Shame on Ms. Coppola for perpetuating the stereotype. |
| not for everyone.. not for anyone.. just for a few |
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| written by reflections |
July 19, 2005 - 2:51 PM PDT |
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5 out of 10 members found this review helpful
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reading the newest reviews.. i am wondering if they were perhaps reading too much into the movie...maybe trying to find some sort of rhyme or reason.. or maybe i was watching a different movie at a different time..with different eyes..
i found the simple nature of the film against the famous hustle and bustle of tokyo to be perfect. two souls finding themselves at different crossroads in a crazy world. one basically selling out while remembering the days when he was doing plays.. and one on the verge of joining the rat race yet not knowing how or where she would fit in. scarlett and bill were perfect casting in their roles.. finding the characters souls.
a few people i have talked with about the movie always wonder how come they never "did it". as though their connection was sexual. to me.. it wasn't it was higher and deeper than that.. they meet at the right time to fix the cracks forming inside them.
i do agree with the camera work.. and the whole of tokyo as the backdrop... plus a special mention of the music selection..
the one thing about the ending.. where the unspoken words have been severly talked about and debated...
i think it was perfect.. not knowing what they said.. it gives everyone the chance to imagine what they said..
in this hollywood landscape... where there is so much that is oversaid and never left to the imagination it was nice for miss coppola to give something up to us romantics..
so yeah.. like my title
it's not for everyone..
it's not for anyone..
but it is for a few.. who see the rainbow at the end. |
| Charlotte's Underwear |
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| written by MMcDonough |
May 16, 2005 - 5:08 PM PDT |
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5 out of 11 members found this review helpful
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Warning- A bit of spoilage....
I agree with the reviewer who said that the last scene screwed things up, although I wasn't as thrilled as he was up to that point. (Rich people who don't know how to have fun. Get me a (Mr.) hankie.) And from what woodwork did the isolated Charlotte's "friends" suddenly appear?
Then there's the issue of Charlotte's underwear. An omnipresence devoid of meaning. I'll be the first to say that SJ has a nice butt, but....
What I did enjoy were the moments that captured the lonely excitement of travel on one's own. |
| Sophia Cop(pola)'d Out |
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| written by viciouscircle |
February 25, 2005 - 4:04 PM PST |
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14 out of 21 members found this review helpful
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!!Warning!! The following review contains spoilers and detailed information about the movie.
Lost in Translation (LiT heretoforward) fails in such spectacular fashion that it really deserves some new rating that compares potential to outcome. Sadly, there is so much that LiT does so right that the movie's ultimate failure makes it all that much more difficult to bear.
Narratively and thematically, the film is rather direct - we follow the (non-)relationship of Bob Harris (Murray) and Charlotte (Johansson) as they find in each other a kindred spirit in Tokyo. Each is dissatisfied and constrained by their lives, each in what once were true relationships but which have dissolved into detachment. The characters are neither understood nor appreciated by their partners.
What we begin to see is that although Bob and Charlotte have a real and profound love for each other, the reality of the situation is that there can be no realization of it. Both characters are alienated and seemingly adrift in their own lives, subject to the whims of the world around them. In each other, they find firmament and understanding - yet confronted by the realities of their lives this constitutes another alienation. How the characters deal with this trial is the source of tension in the movie. More on how this is utterly destroyed later.
Cinematically, LiT is a true visual feast, if a bit overwrought. The camera work and lighting is immaculate and contributes to creating the cold, icy, and harsh reality that confronts the main characters. Tokyo is ingeniusly caricatured, the karaoke scene is truly hilarious, and the club scene perfectly satirizes the comic nature of Tokyo nightlife. My favorite shot of the film is when Bob is playing golf and we are treated to this spectacular shot of Mount Fuji in the background. It is beautiful but perfectly conveys the sense of space and alienation that really takes on the role of a third main character.
Theatrically, I thought Murray and Johansson absolutely nailed their parts. Murray may not have been the best choice, simply because he carries so much personality with him, but I really do think he played his role perfectly. (The parallels in actor choice and role to Sandler in Punch Drunk Love are uncanny. Food for thought.) Johansson brings the perfect combination of awkwardness, sexiness, and wit to her character. I had no problems buying into their characters or their chemistry despite the overly stylized world and phsyical improbability of interest.
So.
Given the numerous positives I have mentioned, you might ask why I absolutely loathe this movie?
Well, the answer is that Sophia simply has no idea where she is going with the story, and ultimately compromises her entire movie with one scene. To explain why I feel this way, we need to revisit the source of tension in the movie and how it operates. Given that Sophia went to such great lengths to develop this incredible tension and story arc between Bob and Charlotte you would think that she would have a good idea of how to end this movie. First, the key scene to understanding the whole dynamic of the Bob/Charlotte relationship is about two-thirds of the way through the movie. The characters are lying side by side in bed, and the emotional and sexual tension at this point is at its climax and virtually unbearable. The only resolution we get to this moment is that Bob touches Charlotte's foot. That's it. That is all that they are capable of - this is a pivotal moment and I feel their choices ultimately define their characters. This solidifies that there can be nothing more. Later, in her most expertly crafted scene in the movie, Sophia really enforces on this sentiment. In this scene we witness Bob and Charlotte see each other across the hotel lobby but Bob is surrounded by Japanese media so there can be no interaction. Again, we see the characters battle reality. And the key idea here, is that this is a reality of their own choosing. Bob and Charlotte exchange glances and an awkward smile as Charlotte enters the elevator. The doors shut and Bob can only see his reflection in the cold metal of the closing doors.
What a perfect spot to end the movie, no?
But Sophia isn't done yet! Bob leaves via taxi for the airport where upon his trip whom does he see on the sidewalk? Oh goodness - it's Charlotte!
...
In Tokyo.
In the downtown.
From a moving taxi. Are you friggin kidding me?
So, of course Bob gets out and runs over to her and they finally ... you guessed it ... kiss! Happy day! Oh what joy is this! Of course there is the infamous whisper no one can understand (which is the whole point, let it go people) and we now are left sated and happy and can go off and live our smily joyous lives knowing that Bob and Charlotte kissed. Apparently this was an improv by the actors, which if Sophia thought this worked for her story, she should smacked upside the head with a trout. How can a writer be so out of touch with her own story and message?
As I watched stupified, I pretty much vomited in my own mouth. What an absolute cop out and complete undermining of narrative, theming, and 120 minutes of my time. Deleting this one scene and ending the movie at the elevator doors would have resulted in a perfect ending. But leave it to Sophia to take something truly evocative, poignant, and challenging and transform it into something mundane, pointless, and easy. The tension is eradicated. As viewers, we are let off the hook and need not pose any questions to ourselves. Worse, the characters that are so painstakingly articulated to us over the duration of the movie are annihilated within a moment. I guess Sophia intended to allude to some potential future, but I don't see it working in any context of the story to this point. The whole message of this movie is obviated. It feels cheap and easy.
Sadly, all the cast and crew who worked so diligently on this movie deserve the highest commendation. The visuals and acting are top notch. It is a shame that something with so much potential was allowed to commit seppuku by the writer/director.
I was initially wary of the movie, as I had heard mixed reviews. I entered with low expectations and discovered a wonderful film. I desperately wanted to love this movie and yet ultimately, I only feel a sense of betrayal and loss. |
| Don't waste your time! |
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| written by mmmac25 |
October 3, 2004 - 3:31 PM PDT |
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4 out of 19 members found this review helpful
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| couldn't even watch half of it. Can we say BORRRING!! |
| Different Role for Bill Murray |
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| written by WZoller |
June 8, 2004 - 2:35 PM PDT |
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6 out of 10 members found this review helpful
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| This movie appeared to be autobiographical to a certain extent, based on memories and visits of the director and her family to Japan. This, combined with the casting of Bill Murray and Scarlett Johansson made it an enjoyable and entertaining movie. |
| smart movie |
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| written by kbraeger |
May 25, 2004 - 12:16 PM PDT |
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2 out of 6 members found this review helpful
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| Excelent movie. Not for people that like everything "in your face." Well acted, good story, funny, and keeps you involved. Bill Murray is witty and relateable. |
| It's not suppose to be a hahaha comedy... |
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| written by VOuch |
April 15, 2004 - 11:29 AM PDT |
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5 out of 8 members found this review helpful
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| Good movie. This movie attempts to recreate the emotions and mindsets of its characters. It's not meant to be hahahaha funny. Its all about atmosphere and mood. Subtlety and non-speaking acting rule here. May not be your kind of movie. |
| Don't listen to the voices! |
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| written by DChambers |
March 10, 2004 - 1:11 PM PST |
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3 out of 14 members found this review helpful
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| You know how it can be when you hear from everyone how great something is and then it can never live up to expectations? I think this movie may have suffered from that problem, but I think there's a chance I might not have liked it anyway. I'm left wondering can a movie be critically acclaimed and still be a good movie? Despite tremendous performances by both Bill Murray and Scarlett Johansson, and really striking photography this movie never took hold of me. I mean, why do I watch movies? Is it so I can see actors do the best they can? Is it so I can look at pretty pictures? No! It's for the story. I want a movie to take me somewhere, to tell me something, to move me. This movie took me to Japan and let me wander around for a while. I was left thinking "When is that part that makes everyone love it?". |
| European style American film set in Japan |
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| written by underdog |
March 1, 2004 - 4:52 PM PST |
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15 out of 17 members found this review helpful
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| Sofia Coppola's film makes up for what it lacks in plot with atmosphere, intelligence, and performance - particularly Bill Murray's sad-faced actor in an existential crisis. He seems to have found a new calling, less the wild man of his youth, and more Monsieur Hulot-with-an-edge. Beautiful to look at and often hilariously funny, my only caveat with Translation was the uneasy feeling that it may have been looking at a foreign culture with an American's slightly patronizing eyes (and maybe one too many travelogue-like sequences). Still, who can't relate to the feeling of being homesick and sick of home at the same time? It's a very European film in style and pacing -- Coppola has admitted her influences include Antonioni, Godard, and the like -- so your enjoyment of the film may depend on your ability to appreciate the works of those filmmakers, and cinema that works like a good, short story. But what the film really has, at its center, is Bill Murray, and Scarlett Johansson; they ground the film, with impeccable timing and empathy. It never feels like they're acting. It's a lovely, little (in the best sense) film. |
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